Drop cable: record free HD TV on Channel Master CM7500 DVR

Watching television requires a Digital Video Recorder (DVR) to skip annoying commercials and view desired content on your own schedule. Recording free HD TV via antenna improved in 2014-2015 with the Channel Master CM7500 DVR (which replaced their buggy model CM7400):

  • Channel Master DVR+ (Bundle CM7500BDL2): subscription-free digital video recorder with web features and channel guide (buy at Amazon.com to support Tom’s site)
    • Simplify your life by watching local HD TV channels for FREE, received over-the-air from an antenna.
    • Dropping monthly cable or satellite television DVR service fees will save you more than $50 per month. One-time purchase of a subscription-free CM7500 quickly pays for itself.
    • Pause and record live TV and skip commercials on local digital and HD channels, sharp as a tack within cities.
    • CM7500 now includes a free TV program Guide of up to 2 weeks downloaded daily from the internet, requiring a wired Ethernet connection (highly recommended).
      • Alternatively, you can update the 2-week TV Guide using their CM USB wireless Internet adapter (which was not reliable in my house, despite CM Support tests not showing any problems in their lab) which comes bundled with CM7500BDL2.
      • (The earlier model CM7400 required $48/year fee for the 2-week Guide or else a free Guide of just 1-3 days into the future.)
    • Attach your own portable 2 TB hard drive with USB 3.0 (avoid USB version 2.0 which may cause noise or skips).
    • Fall 2014 firmware fix for CM7500: lets “New Programs Only” record properly (without creating duplicate recordings of Repeat broadcasts of TV shows or series).

With the national transition from analog to digital television forcing our hand in 2012, we dropped our basic cable service and we switched to receivin HDTV the “old-fashioned way” − free over the air via antenna. (Comcast’s new 2012 signal encryption required fees of at least $50+ per month for recording anything using a DVR.)

Update: in Fall 2015, competitor CenturyLink introduced optical fiber to our neighborhood, and we switched back to paid subscription TV using their excellent PRISM service, plus internet and landline telephone, all bundled on the same high-speed optical fiber, much superior to copper cable. As of 2105-2016, we’re enjoying the extra channels and recording capabilities of PRISM for reasonable cost compared to Comcast’s 2014 cable service. (The only negative is that our landline phone no longer works if the power goes out, a rare occurrence.) 

By connecting to a good antenna (such as a roof-mounted RCA ANT751R Outdoor Antenna Optimized for Digital Reception as we did), the CM7500 DVR can capture locally-broadcast channels in stunning High Definition (HD), without the lossy compression used by cable or satellite TV providers. Our roof antenna works great in Seattle. Use any old TV antenna because HD uses similar broadcast frequencies. Installing in your attic is easiest, but outdoor antennas get better reception (and require proper grounding, which I installed myself after a day of labor).

You’ll need an internet connection plus a good router (such as our ASUS RT-N66U Dual-Band Wireless-N900 Gigabit Router) for secure whole-house internet broadcast or for splitting off multiple Ethernet outlets as I do − handy for on-demand movies and for automatic firmware upgrades of all your devices (Channel Master DVR, Blu-Ray player etc). The better routers have protruding broadcast antennas. For me, the CM7500 worked great using a wired Ethernet connection (strung by me over 50 feet under my house from the Router to the CM7500), but failed unreliably using the CM USB wireless Internet adapter.

Compared to the rival machine Simple.tv 2, the Channel Master DVR+ (CM7500) operates more conveniently and captures better quality at lower lifetime price. TiVo Roamio costs nearly twice as much.

Bonus for photographers

When you upgrade your home TV system, a large LCD LED digital television can now display photographs and videos very impressively via simple HDMI connection to a laptop computer:

  • In 2012, we upgraded our living room with a 60-inch 1080P-resolution Samsung digital TV with LED Backlight technology, which displays photographs with excellent tonal impact. Impressive full-array backlight LED LCD television technology with local dimming has noticeably deeper blacks and greater dynamic range than edge-lit LED LCD and is worth the slightly thicker box. LED LCD televisions use half the power of bulky old CRT (Cathode Ray Tube) models.
  • Glowing LED televisions show presentations even brighter and sharper than an expensive professional projector such as the Canon Realis SX60 SXGA (1400 x 1050 pixels) LCD Multimedia Projector (2500 ANSI Lumens, 10 lbs).
  • Add a 6-channel/speaker surround sound system to complete your great home theater.
Buy gear at Amazon.com to support Tom’s site

More information

Find your locally broadcast TV channels at Antennaweb.org

Check www.antennaweb.org to discover which channels your television tuner is likely to receive within your zip code area in the USA.

For example, with the RCA ANT751R Outdoor Antenna pointed at about 160 degrees from magnetic north, we strongly receive the following Seattle area channels from within zip code 98177:

  • 4.1 = KOMO-DT, 720p resolution — ABC network
    • 4.2 = KOMO-2
  • 5.1 =KING-DT, 1080i resolution — NBC network
    • 16.1 =KONG-DT, 480p resolution, sister station to KING-TV, with NBC and additional content.
  • 7.1 =KIRO-DT, 1080i resolution — CBS network
  • 9.1 =KCTS-DT, 720p resolution — PBS, public television
    • 9.2 =VME, KCTS 9, public television
    • 9.3 =Create, KCTS 9, public television
  • 11.1 =KSTW-DT — CW network
  • 13.1 =KCPQ-DT, 720p resolution — FOX network
    • 22.1 =KZJO-DT/MNT — MyNetworkTV is a syndication programming service and is a sister company to Fox.
  • plus more channels in digital Standard Definition (SDTV, 4:3 ratio, 480i, interlaced NTSC) and High Definition (HDTV, 1080i or 720p resolution).
Installation parts needed for RCA ANT751R Outdoor Antenna Optimized for Digital Reception
  • Test the antenna in your attic: if reception works fine, then installation is easier than on the roof. You may need about 50 feet of coaxial cable to reach the TV.
  • If mounting on the roof or outdoors:
    • Buy enough #10 single-strand copper grounding wire (local hardware store or Home Depot), either bare or insulated, to extend in one unbroken length from the roof antenna, through the 75-ohm coaxial grounding block, to your house ground, in as direct a downward line as possible along the way.
    • grounding wire stand-offs from Radio Shack, to hold wire out from house.
    • 75-ohm coaxial cable grounding block from Radio Shack.

Legality of home recording for personal use

In the seminal case of Sony v. Universal City Studios (1984), the US Supreme Court held that when consumers record television programming available to them at a given time for personal viewing at a later time (“time-shifting”), they are engaged in a “fair use” of copyrighted material and do not violate the Copyright Act. The fair use applies to personal (non-group), non-commercial viewing.

What are the definitions for HDTV, SDTV, 1080p, 1080i, 720p,  and 480p video signals?

  • Most HD cable and satellite TV systems provide you with 1080i resolution.
    • Some cable and broadcast systems also provide 480p: enhanced-definition or extended-definition television (EDTV, 480p, roughly 852 × 480 pixels). EDTV could potentially be as sharp as a DVD movie at 480p except data will have been lost if the source video was from interlaced 480i, such as from SDTV.
  • Over-the-air High Definition Television (HDTV) digital broadcasts have a resolution of 1080i or 720p, which are virtually indistinguishable.
    • Expect 1080i (where i means interlaced video signal) television to look identically as sharp as 720p (where p means progressive video signal).
    • Factors of perception make interlaced vertical resolution only 50 to 70% of progressive resolution.
  • Standard Definition Television (SDTV) is only 480i (about 654×480 pixels, except interlacing almost halves its vertical resolution for moving pictures).
  • Blu-Ray Disc movie resolution can be  720p (1280×720 pixels) or 1080p (1920×1080 pixels).
    • The older DVD movie format is limited to 480p (720×480 pixels, Digital Video Disc).
  • 1080p (with progressive video signal)
    • 1080p is not broadcast by any over-the-air channels in the US (as of 2012 and several years to come). If you have a 1080p TV, the commercially broadcast HD signals (currently 1080i or 720p) are converted to 1080p for display.
    • 1080p (progressive) is definitely sharper than 1080i (interlaced), but your eyes must be close enough to the screen to tell the difference.
      • When viewing a 60-inch TV, you would need to sit closer than about 8 feet to fully appreciate the sharper picture of 1080p compared to 1080i or 720p.
      • When viewing a 50-inch TV, you would need to sit closer than about 6.5 feet to fully appreciate the sharper picture of 1080p compared to 1080i or 720p.
      • See how sharp 1080p is by looking closely at a 1080p digital camera movie on a 1080p HDTV or 1050-pixel-high computer screen (or sharper).
    • Some pay-per-view (PPV) movies now come in 1080p.

Compare prices of basic cable TV to DVR services via satellite and cable

  • In our case, as LIMITED BASIC cable subscribers ($15 per month as of October 2012), our old dying VCR (Video Cassette Recorder) wouldn’t be able to handle the digital signals coming in 2013.
  • As you might expect, the Standard Definition version of cable signals (SDTV, 4:3 ratio, 480i, interlaced NTSC) looks very fuzzy on our sharp new 60 inch Samsung 1080P digital HDTV with LED Backlight technology. COMCAST/XFINITY wanted $2.70 per month extra to get High Definition (HD TV, most likely 1080i resolution) versions of local channels on top of LIMITED BASIC $15 per month.
  • In Seattle (and other major cities), receive at least 5 local High Definition channels FREE over the air via cheap antenna. Any good shows on channels not received can usually be viewed a year later, free on DVD from the Seattle Public Library.
  • From COMCAST/XFINITY, the minimum DVR option added $16.99/month on top of a $67.49/month STARTER package for a total of $84.48/month, which is a big jump over LIMITED BASIC.
  • The Channel Master CM7500 or CM7400 HDTV DVR can record from a TV antenna but not from XFINITY/COMCAST’s cable boxes required after January 2013 (at least in Seattle).
    • Unfortunately, most cable or satellite TV companies scramble channels or use SDV (Switched Digital Video) devices which require a proprietary DVR with a subscription of more than $50 per month. This includes TiVo (which in effect requires a compatible cable TV subscription).
    • In October 2012, I tested our LIMITED BASIC cable television service (through XFINITY/COMCAST in Seattle/King County): the Channel Master CM7400 DVR could record just unscrambled Clear QAM channels directly from the cable, but could not record from the new digital box required by XFINITY/COMCAST all-digital conversion slated for January 2013.
  • Because we get both internet and television service via the same coaxial cable with COMCAST/XFINITY, dropping LIMITED BASIC television actually did not save any money, due to the lost discount (around $15 per month) of “bundling” internet plus TV. So if you don’t want a DVR, then you might has well keep LIMITED BASIC or EXTENDED BASIC cable TV.
  • If you want a DVR, satellite companies such as Dish TV and DIRECTV can cost less than cable but still charge at least $50 per month (after the first 6 months).
  • Eliminating your monthly cable or satellite television bill can save more than $50 to $85 per month. That’s over $600 to $1020 per year savings.
  • The above facts led us to buy the subscription-free Channel Master DVR recording from an RCA ANT751R Outdoor Antenna. Compared to subscription TV, the new equipment pay for itself in less than a year then starts saving you significant money.

Problems and workarounds for earlier model Channel Master CM7400 1080p HDTV DVR

If you have the earlier version Channel Master CM7400 DVR (Digital Video Recorder), you should upgrade to the next version: Channel Master DVR+ / Bundle CM7500BDL2. By upgrading, you won’t have to deal with the following problems and workarounds:

The Channel Master CM7400 1080p HDTV DVR (2012-2013, no longer sold as of 2014) automatically reads the free over-the-air program GUIDE (schedule) provided for 1-3 days into the future by each station. Once you PROGRAM A SERIES** on a given channel, all future episodes of that TV series automatically record in whatever time slot they appear, searched and recognized literally by name. Alternatively, pressing MENU then the OPTIONS button lets you set up Manual Recording by fixed time slot (like on an old VCR, independent of program name). The optional Premium Guide ($4 per month paid to Channel Master) provides a program GUIDE to identify shows by name two weeks into the future.

** A freezing or “PROGRAM A SERIES” problem (bug) occurs in latest Channel Master software version 1.0.97 and earlier:

  • Randomly about every 1-3 weeks, our Channel Master CM7400 freezes operation (often with frozen clock time displayed), requiring a hard Restart/Reset. Other users on Amazon.com have reported this problem where the device hangs. You can Restart/Reset by holding down the power button for 5 seconds until it starts flashing (automatically rebooting) (or by unplugging/re-plugging the power cord). Restart/Reset won’t affect already-recorded programs or future programmed SERIES. (Avoid SETTINGS > “Reset to Factory Defaults,” which erases all recorded programs and series.)
  • To work around the problems:
    • It may help to #1) subscribe to Premium Guide service and Reset to Factory Defaults or #2) only use Manual Recording (instead of  “PROGRAM A SERIES”).
      • But a few weeks after Technical Support gave us the useful Premium Guide service as a workaround (#1), the CM7400 forgot all of our programmed future shows until restored by rebooting. We lost 3 days of shows that failed to record. The CM7400 is apparently unreliable once every 1-3 weeks and requires checking every day to see if it requires rebooting in order to record anything in the future with “PROGRAM A SERIES…”
    • Final workaround, #3: Put the CM7400 on an electrical timer to automatically power OFF then ON to reboot once per day at 3:00pm (or 5:00am, or when no show is likely to be recorded). This solution leaves it ON all day (except for a timed half hour OFF), requiring more power and wear-and-tear than Standby Mode. This automated reboot fixes the “PROGRAM A SERIES” bug (confirmed after 6 months of testing through June 2013). Although this serious bug casts doubt on Channel Master quality, the dearth of subscription-free DVR companies leaves us with few alternatives. The electrical timer has fixed the problem except for once when the DVR crashed a few hours after the 3:00pm reset, thus failing to record any programmed shows until the next reset.

Because the Channel Master CM7400 DVR creates a lot of heat (even in Standby/Off mode), keep it in an open (not closed) location near your TV. (Fixed in 2014 model CM7500 which runs cooler and more reliably.) After 7 months of use, we enjoy its superior features compared to our old VCR. To avoid various already-solved problems, be sure to immediately download the latest software/firmware during initial Setup, easily via your home router, and save frustration by attaching an electrical timer to CM7400 (workaround #3).

TOM’S CAMERA GEAR HISTORY 1978-2017

PhotoSeek creator Tom Dempsey reveals his favorite photographic gear adopted from 1978-2017.

For travel and nature photography, I look for portable, high-quality cameras on a moderate budget. Since 1978 I have regularly updated my technology as follows (newest at top, oldest at bottom). See also: BEST TRAVEL CAMERAS REVIEW.  

Below, buy linked items at Amazon.com to support Tom’s work.

Current main camera: Sony Cyber-shot DSC-RX10 III (37 oz; Tom’s usage from May 2016−present)

Sony RX10 III camera

The versatile Sony RX10 III weather-sealed camera has a superb 25x zoom 24-600mm equivalent f/2.4-4 lens.

New in May 2016, Sony Cyber-shot DSC-RX10 III (buy at Amazon) is my ultimate travel camera, only 37 ounces (with battery & card, plus adding 5 oz for strap, lens filter, cap & hood makes 42 oz). Its weather-sealed body has a bright f/2.4-4 lens with vast 25x zoom, sharp throughout its remarkable 24-600mm equivalent range. I no longer need a pocket camera for improving close-focus shots, as RX10 already has a 1”-Type sensor — its depth of focus, deeper than APS-C sensor cameras for a given f-stop, enhances details from close flower shots to distant bird feathers all the way to 600mm equivalent telephoto. RX10 III is the world’s most versatile camera for on-the-go photographers. Read my full review of Sony RX10 III.

Indoor event photography camera (18-33 oz; Tom’s usage from April 2016−present)

Introduced in April 2016, the best value camera for capturing indoor events or action with fast autofocus is my Sony Alpha A6300 (buy at Amazon with 16-50mm lens) (2016, 14 oz body + 4 oz 24-75mm equiv zoom). Sony’s A6300 (read my review) demands the sharpest E-mount lenses to leverage its APS-C sensor, in order to rival the marvelous optics of Sony RX10 III. For indoor events using the A6300, my older Sony SEL18200 lens struggles to keep up with RX10 III outside of a 30-60mm equivalent sweet spot.

Pocketable backup camera #1: (11 oz; Tom’s usage from 2016−present)

Panasonic Lumix DSC-ZS100 (buy at Amazon) (2016, 11 oz, 25-250mm equivalent lens) has an impressive 10x zoom on a 1″ sensor body which can fit in a large shirt pocket. The Panasonic ZS100 (read my review) is more versatile than a 3x zoom Sony RX100…

Pocketable backup camera #2: Sony RX100 version III  (10 oz; Tom’s usage from 2014−present)

Sony RX100 (read my review) version III pops up an electronic viewfinder (OLED SVGA 1.44M dots), widens its lens view to 24mm equiv (brightest aperture f/1.8), zooms to a sharper and brighter 70mm f/2.8 telephoto, tilts its 3″ LCD to a full 180 degrees and adds a Nuetral Density (ND) filter, all substantial upgrades from version II. Sony RX100 (price at Amazon) has an impressive 1-inch-Type sensor (20mp), unusually fast 0.15 sec autofocus, and a sharp LCD (1,228,800 dots). To better grasp its slippery body, add a Sony AG-R2 attachment grip.

Bowling Ball Beach, Schooner Gulch State Park, south of Point Arena, Mendocino County, California, USA. Pacific Ocean waves have weathered coastal bluffs (steeply tilted beds of Miocene Galloway Formation, Cenozoic Era mudstone) to expose spherical sandstone concretions resting on bowling lanes. Concretions form because minerals of like composition tend to precipitate around a common center. The panorama was stitched from 2 overlapping photos. (© Tom Dempsey / PhotoSeek.com)

Bowling Ball Beach, Schooner Gulch State Park, south of Point Arena, Mendocino County, California, USA. Panorama was stitched from 2 overlapping photos. © 2012 Tom Dempsey / PhotoSeek.com

Tom’s latest computer and software (A, B, C, D, E)

A. Adobe Lightroom for Windows (Tom’s usage from 2007−present)

I highly recommend Adobe Creative Cloud Photography plan (Photoshop CC + Lightroom) which elegantly organizes images and speeds editing! Lightroom easily and automatically exports image files to attractive web pages, or to files of any size, such as for e-mail or Microsoft PowerPoint presentations. Lightroom can optionally place a copyright watermark on exported images.

  • New in 2016, Lightroom CC’s Boundary Warp feature is essential for building panoramas quickly, and Dehaze (in Adjustment Brush and Develop>Effects tab) provides a big help beyond Clarity to reveal details behind hazy skies, glare, or other conditions. (Not supported in LR version 6.)
  • In April 2015, Lightroom version 6 added Photo Merge to Panorama and to HDR, with raw file input and high-quality output to Adobe Digital Negative DNG files.
    • A good FREE option for stitching panoramas from multiple images is Image Composite Editor (ICE) released in 2015 from Microsoft Research Computational Photography Group (faster and sharper than using Adobe Photoshop CS5).
  • Save money on Adobe products using your discount for academic/student/teacher, if applicable. (Also, in 2012, Adobe competitively cut in half the retail price of Lightroom.)
  • Lightroom helped me edit and organize 2-3 times more per week compared to Canon ZoomBrowser, or to Adobe Photoshop with Bridge.
  • Lightroom smartly stores its non-destructive editing commands & labels in a powerful database (and in .XMP sidecar files for raw), compatible with JPG, TIF, and most camera raw files.
    • To protect your edits and metadata changes against the rare event of a damaged Lightroom catalog, be sure to “Automatically write changes into XMP” (which unfortunately isn’t the default) set under Lightroom’s Edit menu > Catalog Settings > Metadata.
    • But backing up DNG file edits must be done manually, with the command “Update DNG Preview and Metadata” under Metadata menu. DNG is advantageously compressed 20% smaller than camera raw, but using sidecar+raw instead may be faster and more secure against file corruption. The writing time for a whole DNG file takes much longer than a quick write to a tiny sidecar XMP file. So long as you “Build Previews 1:1” at Import time as I do, Lightroom preview speeds should be similar or better using raw+sidecar compared to DNG. Synchronizing a folder of thousands of images should be much quicker with raw+sidecar than with DNG. 
    • I don’t see an advantage in converting old or importing new raw shots to DNG. As of 2015, Adobe Lightroom version 6 still handles my oldest raw files from Canon Powershot G5 camera of 2003 and Sony NEX 7 raw (2012-15).
    • To simplify your workflow and printing, use sRGB color space outside of Lightroom (Edit>Preferences>External Editing tab), such as when launching Photoshop. Costco makes great 40-year prints on Fuji Crystal Archive Paper using default sRGB color space at 300 dpi. Most monitors and cameras use sRGB color space as a default practical standard.
  • A great Lightroom upgrade from 1.4 to 2.0 added graduated filters, localized editing brushes, and a quicker interface to Adobe Photoshop such as for Photomerge (stitching panoramas, now included in Lightroom version 6.x). If you buy a new camera that captures raw files, check if the latest Lightroom update has added support for it. (For example, Lightroom Version 1.1 introduced RAW support for Nikon D40X camera, 1.4 added Nikon D60, 2.4 added Nikon D5000.)
  • Adobe Lightroom ties you to the expense of updates, or ongoing CC subscription, required for raw file compatibility for future cameras that you may purchase. If your Lightroom CC subscription expires, you can still view, organize and export (but not Develop) images.
FREE editor alternatives:
  • Polarr.co edits very well, especially the $20 Pro version with important Brush Mask and batch processing. But Polarr loads only 50 images at a time, and requires external organizing software. Polarr image size must be ≤40 megapixels (so you must edit the entire set of images before using a stitcher like FREE Image Composite Editor to merge a large panorama).
  • FastStone Image Viewer 3.6 Freeware, www.faststone.org. Fast and capable, especially if you use raw files. Downloads, views, edits and exports still images, including most camera raw files. FastStone does not view or download movies or sound files.
  • Canon Zoombrowser is FREE with purchase of Canon cameras. Handily downloads, views, edits and exports Canon still images, movies and recorded sound files. (Simpler than FastStone Viewer.)
  • Apple Photos (or earlier iPhoto) is not bad, but each edit creates a new JPEG file. In 2014, Apple ceased development of its Aperture and iPhoto apps, replacing both with “Photos for macOS.” Version 3 and later of both Apple Aperture and Adobe Lightroom helpfully cataloged movie files.
  • Google Photos: good across multiple platforms but requires internet connection. 16mp max per photo. 15 gb free storage on Google Drive (then $2/month per 100 gb up to 30 TB as of 2017).
A Japanese maple turns orange in autumn. The Seattle Japanese Garden was completed in 1960 within UW's Washington Park Arboretum. Address: 1075 Lake Washington Blvd E, Seattle, Washington 98112, USA. (© Tom Dempsey / PhotoSeek.com)

A Japanese maple turns orange in autumn. The Seattle Japanese Garden was completed in 1960 within UW’s Washington Park Arboretum, Seattle, Washington, USA. © Tom Dempsey / PhotoSeek.com

B. Adobe Photoshop

While Adobe Lightroom handles 95% of my editing, the remaining 5% of my very best images, printing, and book production still require Photoshop. Most people don’t need Photoshop, since Adobe Lightroom covers most advanced photo editing needs.

  • Adobe Photoshop: As of Spring 2013, Photoshop version CS6 and later is now rented by the month or paid yearly to run the CC version, which can now expire if you don’t revalidate every 6 months through Adobe Creative Cloud via internet connection. (In contrast, Adobe Lightroom is cheaper and never expires, although raw file support for new cameras requires regular upgrades.)
  • Upgrade history: Adobe upgraded to CS5.5 in 2011, to CS5 in Fall 2009, to CS4 in Fall 2008. Photoshop version CS5 worked well for me. CS5 through CS3 have support for 16-bit Adjustment Layers and greatly improved Photomerge, to seamlessly stitch 16-bit panoramas from multiple 16-bit images (now antiquated by Lightroom 6.x and CC with Photomerge).
C. Microsoft Powerpoint 2016 for Windows, via Office 365 Home subscription

makes flexible photo shows combining images, music, videos, labels & charts with nice cross-fades between frames for display on a computer or digital projector. Subscribing to Microsoft Office 365 Home includes PowerPoint, Word, Excel, and Outlook; supports 5 PCs or Macs, 5 tablets, and 5 phones; has unlimited customer service; and is cheaper than buying standalone copies separately for PC and laptop.

Alternative show software: Proshow Producer has flexible output formats at all resolutions.

D. Tom’s laptop shows use Microsoft PowerPoint on a PROJECTOR or HD TV
  • 60-inch Samsung digital HD TV monitor with LED Backlight (Tom’s usage 2012 – present): As of October 2012, our living room shows are upgraded with a spectacular 60-inch Samsung digital TV with LED Backlight technology, 1920 x 1080 pixels, displaying photographs with excellent tonal impact and realism. Impressive full-array backlight LED LCD television technology with local dimming has noticeably deeper blacks and greater dynamic range than edge-lit LED LCD and is worth the slightly thicker box. Mount on the wall to save floor space. LED LCD televisions use half the power of bulky old CRT (Cathode Ray Tube) models. Connect the large digital television via HDMI socket to a laptop computer. Darkening the room is no longer necessary because LED televisions make presentations brighter than projectors (such as Canon Realis SX60 or SX50).
  • Best projector under $1000: BenQ HT2050 DLP HD 1080p Projector (at Amazon.com) – 3D Home Theater Projector with All-Glass Cinema Grade Lens. Or older, slightly cheaper BenQ HT1075 is almost as good.

My older Canon Realis SX50 digital projector (Tom’s usage December 2005 – present) displays impressive multimedia presentations using Microsoft Powerpoint run on a notebook computer, dynamically superior to a slide film projector. The SX50 projects a spectacular movie theater experience, especially with a 6-speaker Surround Sound system. The Canon Realis SX50 projector features SXGA+ (1400 by 1050 pixels); great 1000 to 1 contrast; 2000 actual lumens; true 720p HD broadcast for movies. $4000 in December 2005, then price dropped to $3500 in October 2006. It has keystone correction, a great dynamic range (from highlights to shadows), and sharper focus than slide film projectors such as the Kodak Carousel 4600. The SX50 is well optimized to show images in default sRGB mode, as captured by digital cameras.

On my trusty old Kodak Carousel 4600 film projector, the contrast ratio is more limited, requiring a darker room than Canon SX50; and you must wait for the curved film in each slide mount to warm up and pop into focus, which still annoyingly leaves the edges or center out of focus, even with the compensating lens and autofocus. In contrast, digital projectors focus crisply & brightly across the entire image!

E. Tom’s computer hardware
Tom’s current Personal Computer system (from 2017−present):
Tom’s laptop computer (from 2017−present):
  • HP Spectre x360 – 15t Touch Laptop:
    15.6″ 3840×2160 pixels diagonal UHD UWVA eDP BrightView WLED-backlit screen. Intel Core i7-7500U 2.7-3.5 GHz, 4 MB cache, 2 cores, plus 16 GBNVIDIA GeForce 940MX (2GB GDDR5 dedicated) video graphics. 16 GB DDR4-2133 SDRAM. 1 TB Solid State Drive (SSD). 64-bit Windows 10 Pro operating system. Product #X6W04AV. I love its elegant profile and truly useful touchscreen! Good keyboard.
Recommended best value PC specifications for Adobe Lightroom & PhotoShop 2012-2013
  • Use a 64-bit Windows or Apple operating system (not 32-bit).
  • Recommended processor: quad-core 3.5 GHz Intel i7-3770K Ivy Bridge (or i5-3570K saves money)
  • Recommended RAM: 12 to 16 gigabytes of Random Access Memory
  • Recommended graphics: GeForce GTX570 (note that pricier Quadro 2000 isn’t necessarily better)
  • Recommended hard drive: 2 terabytes, 7200 RPM is good enough (or Solid State Drive/SSD, or 10,000 RPM if affordable)
  • Recommended: Solid State Drive (SSD): 256 gb for PhotoShop swap files
  • Recommended: external portable Blu-Ray player, writer/DVD recorder (made optional due to large cheap 16gb memory cards, USB memory sticks, or cloud storage) can be used on both laptop & PC.
  • Recommended: USB 3.0 ports
Computer speed tips for older systems 2007-2012
  • Install Photoshop, Lightroom program and database onto a RAM drive or SSD for faster speed of loading and running.
  • Photoshop sped up when I added a very fast internal hard drive (10,000 rpm) to host the swap file of Adobe Photoshop CS3. Adobe Lightroom versions 1.3 and 1.4 also sped up when “Lightroom Catalog.lrcat” image database was moved onto the fast drive.
    • Despite having 4 gigabytes RAM memory on your computer, Photoshop CS3 only takes advantage of one gigabyte of memory before memory starts slowly swapping to disk. Workaround: Upgrade to faster CS4, a 64 bit application.
  • My computer 2009-2012 was a Dell XPS 420 Workstation (2.4 GHz Quad-Core processor) with 4 gigabytes RAM memory, running Windows Vista operating system, using the 24 inch Dell 2407WFP-HC Ultrasharp widescreen Flat Panel LCD monitor, 1920 x 1200 pixels, and 1000:1 Contrast Ratio. Main image storage was on a 2 terabyte RAID 0 internal hard-drive pair backed up to 1.5 or 2 TB external USB drives. To write to CD/DVDs on my Dell Workstation and Laptop, I had to use the provided Roxio program, instead of Windows XP or Vista (which poorly handle CD/DVD disk writing).
  • For external backup or storage, get an external 1 or 2 Terabyte (TB) drive with eSATA or USB 3.0 connection. eSATA is as fast as your internal hard drive connection, much faster than Firewire or USB 2.0. New computers after 2011 may come with fast USB 3.0.
  • On your laptop, for more reliable mouse control on your touchpad, disable the annoying Tap feature, which often mistakes your mouse finger movements for a click or double click. Disable Tap in Windows XP or Vista > Control Panel > Mouse > Touchpad. Instead of the Tap feature, rely on the Left and Right buttons.

Scanner: Konica Minolta DiMAGE Scan Dual IV (Tom’s usage from 2006−present)

A solo hiker walks atop the Pulpit Rock (Prekestolen) 1959 feet above a car ferry on Lysefjord, Forsand municipality, Rogaland county, Ryfylke traditional district, Norway, Europe. The nearest city is Jørpeland, in Strand municipality. Published in Wilderness Travel Catalog of Adventures 1998, 1996, 1988. Winner of "Honorable Mention, Photo Travel Division" in Photographic Society of America (PSA) Inter-Club Slide Competition May 1988. Published 2009 on a commercial web site in Amsterdam. Published in "Light Travel: Photography on the Go" book by Tom Dempsey 2009, 2010. (© Tom Dempsey / PhotoSeek.com)

I scanned this image from 35mm film that I shot in 1981 on an Olympus OM-1N camera: A solo hiker walks atop the Pulpit Rock (Prekestolen) 1959 feet above a car ferry on Lysefjord, Forsand municipality, Rogaland county, Ryfylke traditional district, Norway, Europe. Published in Wilderness Travel Catalog of Adventures 1998, 1996, 1988. Winner of “Honorable Mention, Photo Travel Division” in Photographic Society of America (PSA) Inter-Club Slide Competition May 1988. Published 2009 on a commercial web site in Amsterdam. Published in “Light Travel: Photography on the Go” book by Tom Dempsey 2009, 2010. (© Tom Dempsey / PhotoSeek.com)

Konica Minolta no longer sells or supports scanners or cameras, so consider another brand such as follows:

  1. Plustek OpticFilm 8200i SE film scanner (2014).
  2. Epson Perfection V700 Photo Scanner with Digital ICE™ technology for dust spot removal, scans 12 slides at once in 8×10 inch area. 6400 dpi. Optical density 4.0 Dmax. Compatible with Windows XP and various Macintosh versions.
  3. Earlier excellent scanner: Epson Perfection 4990 Photo Scanner with Digital ICE™: This flatbed scans up to 8×10 inches, many images at once automatically. 4800 x 9600 dpi resolution, 48-bit color depth, and 4.0 Dmax (dynamic range). Compatible up to Windows XP, and various Macintosh versions.

My discontinued Konica Minolta DiMAGE Scan Dual IV (used 2006present) makes much better scans than my former Nikon LS-2000 (below), requiring little extra Photoshop adjustment [except for laborious manual dust removal required on 12/16-bit mode scans — where a workaround is to use Photoshop’s Filter>Dust & Scratches feature, but that often reduces image detail]. If you will be making lots of scans, get a different scanner that supports automatic dust removal using ICE or a similar infrared technology. Features: $240 in 2006; 3200dpi, or about 4284 by 2892 pixels from a scanned slide. Dynamic range higher than film, so it captures all shadow & highlight detail. This 3200 dpi resolution sufficiently captures all the clarity in 99% of my images taken on a tripod with consumer-quality SLR lenses. Photoshop can effectively enlarge using a bicubic algorithm. (I feel that 4000 dpi on a different scanner wouldn’t get any more useful information out of 99% of my film slide images). Universal USB connection. Unattended batch scan of 4 slides, each with custom settings. Requires Windows XP (which I run on a Notebook computer). Scanner doesn’t work with Windows Vista.

My old Nikon LS-2000 Super Coolscan scanner (Tom’s usage from 2000 – 2005):

  • 2700 ppi, makes ~2400×3600 pixels from slides, dynamic range=3.6, $1330 plus $430 stack loader; SCSI interface; can automatically batch scan 30 slides, all at the same setting.
  • Using Nikon LS-2000 scanner, I have made prints 28×42 inches at 240dpi, which look good at a viewing distance of about 36 inches or further, scanned from Fujichrome Velvia slides (digitally enlarged from 2400×3600 pixels in two stages in Photoshop).
  • By 2003, this Nikon LS-2000 workhorse was antiquated by cheaper, better scanners, but instead of upgrading to the Nikon LS-4000, I bought new digital cameras, which offer more flexibility, higher quality, much faster work flow, and scan subjects directly. The SCSI connection on the Nikon LS-2000 was incompatible with my Dell 9300 Notebook computer. I sold the LS-2000 scanner with stack loader (for $405 on e-Bay), and purchased the above superior Minolta scanner for only $240.

Printer: Epson Stylus Photo 2200 (Tom’s usage from 2005present)

  • Makes impressive prints (equal to or better than the typical chemical photographic process) up to 13 x 44 inches, rated at 80-year longevity on special Epson papers (when mounted behind glass).
  • Features: 7-color Ultrachrome inks, high quality ink jet printer. Combination of Photo Black (or Matte Black) and Light Black improves neutral and Black & White tones, and extends the dynamic range of prints. [I upgraded to the 2200 from the earlier but excellent Epson Stylus Photo 1270, for which ink costs about 25% less.]
  • Epson later upgraded as follows:
    • The 8-color Epson Stylus Photo 2400 prints on paper up to 13 x 44 inches and improves gray scale and dynamic range for blacks & shadows (essential for Black & White prints), using long lasting K3 inks, superior to the Epson 2200 or 1270/1280.
    • The 8-color Epson Stylus Photo 3800 Printer (released 2007) prints on paper 17×22 inches using long lasting K3 inks. The 3800 takes up a surprisingly small footprint on your office desktop.
Best value printers for photographers as of 2017:
  • Canon Pixma Pro-100 photo printer (new in 2013, with 8 color dye cartridges) makes economical, vibrant high-quality prints up to 13 x 19 inches, lasting about 30 years behind glass before fading.

But the following pigment inkjet printers make longer-lasting prints:

  • Canon Pixma Pro-10 printer (2013, with 10 color pigment cartridges).
  • Epson SureColor P600 printer (2015, with 9 color Ultrachrome HD pigment cartridges, makes superior black & white prints, prints on thicker paper up to 1.3mm thick, supports roll paper, but costs $250 more plus 20% more per print).

Tripod: Slik “Sprint Pro II GM” with built-in quick change plate (Tom’s usage from 2005−present)

  • Slik Sprint Pro II GM Tripod with Ballhead
  • Weighs only 33 ounces (or 30 ounces without the center column) and is great for travel, superior to other travel tripods that I’ve evaluated (including Velbon MAXi343E, Manfrotto, or even Gitzo tripods costing three times more). To handle the weight of an SLR with lens weighing heavier than a pound, some photographers may prefer a more substantial change plate. Carry a penny or quarter to tightly screw lock the quick release plate securely to camera.
  • Features: The stiff magnesium alloy legs are sufficiently stable for cameras up to 3 or 4 pounds (especially if you don’t extend the bottom leg section; or if you hang on extra weight) and have very fast locking levers (of sturdy plastic). This tripod rises to eye level (64 inches), collapses to 18 inches (or 16 inches if you remove the quick-release ball head). The metal ball head swings 90 degrees each way, to two vertical positions, and turns freely around, all tightened with one effective lever. Legs can optionally splay out independently in 3 locking positions down to 6.4 inches off the ground. For macro, the center column can be reversed underneath for great shooting flexibility at ground level, and unscrews into a short section (saving 3.3 ounces). (The convertible spike leg tips which I never used are now just rubber in the Pro II, saving a little weight and collecting less soil.) The earlier model “Pro” which I used for 2005-2008 was 3 ounces heavier than the Pro II after adding the superior quick change plate: Slik “Sprint Pro GM” Tripod ($90), with Manfrotto 3299 Quick Change Plate Adapter ($35, quick release), 36 ounces total. Stiff aluminum legs. Leg tips convert from spike (outdoor) to rubber (indoor use) with a simple lockable twist.

Support Tom’s work — buy anything at Amazon.com.


The above products surpass the following older equipment which I no longer use:

Sony Alpha NEX-7 with Sony E-Mount 18-200mm lens (33 oz; Tom’s usage July 2012−April 2016)
A mounted horse wrangler leads a spare horse down the dusty Park Butte Trail, Mount Baker Wilderness, Washington.


A cowboy guides horses on dusty Park Butte Trail, Mount Baker Wilderness, Washington. Shot on a Sony Alpha NEX-7 camera at 140mm using Sony E-Mount 18-200mm f3.5-6.3 OSS lens.

Sony DSC-RX100 version I  (8.5 oz; used by Tom in 2013-14, is now my wife’s main camera, replacing Canon G9):
Tom’s Personal Computer system (from December 2012−2016):
  • HP Envy Phoenix H9SE-W8 Desktop PC with: 16 gb SDRAM DDR3 1600 MHz, Intel Core i7-3770K CPU 3.5 GHz, 3 TB SATA hard drive 7200 RPM plus ExpressCache HP 16GB Disk Cache SSD (for faster startup), 1.5 GB Nvidia GeForce GTX 660 graphics card, 600 watt power supply, and 64-bit Windows 8 operating system.
  • LCD monitor: 24 inch Dell 2407WFP-HC Ultrasharp widescreen Flat Panel, 1920 x 1200 pixels, and 1000:1 Contrast Ratio.
Canon PowerShot G9 (13 oz) (used by Carol Dempsey July 2009−2014)
Above the Arctic Circle, ascend a slippery steep trail to Reinebringen for spectacular views of Reine village, highway E10, and sharply glaciated peaks surrounding Reinefjord, on Moskenesøya (the Moskenes Island), Lofoten archipelago, Nordland county, Norway. Panorama stitched from 3 overlapping photos. (© Carol Dempsey / PhotoSeek.com)

Stitched from 3 overlapping images shot by Carol on a Canon PowerShot G9 camera: Above the Arctic Circle, ascend a slippery steep trail to Reinebringen for spectacular views of Reine village and sharply glaciated peaks surrounding Reinefjord, on Moskenesøya (Moskenes Island), Lofoten archipelago, Nordland county, Norway. (© 2011 Carol Dempsey / PhotoSeek.com)

  • Canon PowerShot G9 was my wife’s main camera. 35-210mm equivalent lens, image stabilized.
  • Disadvantages: Grainy at ISO 400 and too noisy at ISO 800+. Workaround: A Canon PowerShot G11 gives two stops ISO improvement, flip out LCD, 28-140mm lens, and DIGIC IV.
  • The newer, smaller Sony DSC-RX100 camera effectively beats G9 real resolution from 35-150mm (by cropping RX100’s 20mp images where needed for digital telephoto) and has two stops lower noise at ISO 800+. But G9 is sharper for macro (albeit more distorted) and at telephoto 150-210mm equiv.
  • G9 is a good 13-ounce camera with quality similar to an 8-megapixel DSLR of 2009 at ISO 80.
    • Comparisons: The 28-140mm Canon PowerShot G10 has similar sharpness, making good 5×7 prints at ISO 400, with DIGIC III processor. A Canon A650 IS saves money with similar JPEG quality and adds flip-out LCD but no raw file support.
Nikon D5000 DSLR with Nikkor 18-200mm VR II Lens (45 oz) (Tom used July 2009 − June 2012)

The Nikon D5000 plus Nikon AF-S DX 18-200mm f/3.5-5.6G ED VR II Zoom is one of the best photo systems of 2009 for active travelers, sufficiently lightweight to carry all day in a chest bag.

  • 23 ounce body with battery & strap. Mount with 22-ounce Nikon DX 18-200mm VR II Zoom (with cap and hood) with up to 4 stops image-stabilization (up to 8 times slower hand-held shutter speed).
  • 12 megapixels 4288 by 2848 pixels, makes good prints to 23 by 30 inches or larger. Excellent quality to ISO 1600, and ISO 3200 is usable for smaller prints. Image quality similar to higher priced Nikon D300. CCD sensor size is Nikon DX format 23.6 x 15.8 mm.
  • 2.7 inch tilt and swivel LCD (new, unusual for a DSLR) with rudimentary live view which focuses very slowly, as with all DLSRs through 2010 — focusing through viewfinder is much faster. Captures movies with monophonic sound.
  • I protected the camera in a Clik Elite Large SLR Chest Pack This chest pack fits SLR camera with a lens up to 5.5 inches. Test the fit thoroughly within the store’s return period. The straps may work better for someone with larger-than-average shoulders. The upper shoulder pads are comfy, but the wide back pocket built into the back straps sorely rubbed into my left shoulder blade. I fixed by cutting away the lower back straps 2 inches below the V shape and resewing the two nicely padded upper shoulder straps to the lower part of a tested older harness.

Nikon 18-200mm AF-S ED VR II lens:

  • 20 ounces / 560 grams without cap and hood, new in 2006 (with version I of VR Vibration Reduction).
  • 18-200mm focal length 11x zoom is perfect for travel (with 27-300mm equivalent field of view in terms of 35mm film). Minimizing lens swapping saves time, reduces dust spots on sensor, and promotes creativity.
  • Hand hold shots in up to 4-stops dimmer light using Vibration Reduction (VR). Reduced tripod setup cuts shooting time in half, increasing creativity. Using the image-stabilized lens combined with good image quality on the Nikon D5000 up to ISO 1600 (even ISO 3200 is useful now) improves hand-held photography by about 1-2 stops compared to Nikon D60 (2008) and 6-8 f/stops compared to Canon Powershot Pro1 (2004) which shot noisy images above ISO 100.
  • Focuses to 18 inches (0.5 meters) throughout the zoom range. Largest magnification is at 200mm telephoto closeup: 3.5 inches wide (or an area of 93 x 62 mm).
  • Filters for Nikkor 18-200mm VR lens:
    • Hoya 72mm UV filter both sides coated, in purple box; for important lens protection. “Both sides coated” is cheaper than MultiCoated (Hoya SMC), and should be fine for 95% of your shooting. To avoid flare risk, take off filter if shooting into sun or indoors under spot lights. (My last filter saved my lens by breaking the fall of the lens, camera & tripod which tipped over onto concrete in Luray Caverns!)
    • 72mm B+W brand Circular Polarizing filter. Only polarize to remove reflections or haze. In the sky, maximum polarization is a 90 degree angle from the sun, but be careful not to
      over darken blue sky. (A cheaper polarizer may throw off your white balance.)
    • Tiffen P ND .6 Graduated Nuetral Density Filter for balancing bright sky with foreground subjects. For speed, I hold this “neutral density graduated filter” up to the lens manually without a holder.
  • How to optimize lens quality: By being so versatile, this Nikkor 18-200mm VR lens does suffer from some quality compromises, so I sharpen results from 70mm to 200mm by shooting from f/8 to f/11.
    • At 135mm, its fuzziest zoom setting, use f/11 to f/16 for sharper results.
    • When shooting flash with this 3.9″ lens, shoot above 24mm and remove the lens hood, or else a lens shadow will appear in the bottom of the image. Or mount a high flash on the hotshoe such as Nikon Speedlight SB-600 or 700.
    • With VR set ON, I can sharply hand hold shots as slow as 1/8 to 1/30th second for respectively 18mm to 200mm.
    • Caveats for the Nikkor VR 18-200mm lens: Architectural photographers (who need straight lines) won’t like the barrel distortion at 18mm wideangle (hard to correct for this lens), or the pincushion distortion between 35mm and 70mm (easily correctable using Adobe Photoshop>Filter>Distort>Lens Correction). Macro photographers should get a sharper dedicated macro lens or use a compact camera which focuses closely with great depth of field.
  • Alternative lens: Tamron Di II VC AF 18-270mm F/3.5-6.3 LD Aspherical (IF) MACRO, new in Fall 2008, zooms impressively to 15x, while stabilizing hand-held sharpness close to the image quality of 18-200mm 11x lenses from brands Nikon VR and Canon IS. Tamron 18-270mm costs less than the Nikon 18-200mm lens. But I didn’t like Tamron’s long slippery lens creep when you point the camera up or down, and focus appeared inconsistent in my tests versus the Nikon 18-200mm on a tripod in indoor light. Tamron’s 15x doesn’t help much versus Nikon’s 11x because you can slightly crop Nikon’s sharper 200mm shots and print equally large. Nikon’s focus ring has instant manual focus override, whereas you must
    inconveniently flip a switch on the Tamron.

70-300mm F4.5-5.6G ED-IF AF-S VR Zoom Nikkor lens:

  • 26 ounces; 5.6″ length; 4.9 foot minimum focus; also compatible with full frame Nikon D3 DSLR.
  • For sports, wildlife and birder photographers. According to testing by www.photozone.de, the Nikon 70-300mm captures about 5 to 20% sharper resolution than the Nikon 18-200mm VR.
  • This lens proved its worth on our wildlife trip to Galapagos Islands and Ecuador in 2009.
  • Unfortunately this 70-300mm lens cannot focus closer than 4.9 feet. For travel, consider carrying the Nikkor 70-300mm VR lens together with kit lens Nikkor 18-55mm 1:3.5-5.6G DX AF-S VR (with good closest macro area 63 x 42 mm), or with the 18-200mm VR II lens (93 x 62mm closest macro area).

Accessories:

  • Hoodskins (800-818-3946): Protect your LCD from scratches by applying this clear plastic film, and preserve the resale value of your camera. Hoodskins Model HSK-4 for 3.5- to 4-inch LCD screens can be cut with scissors to fit smaller LCDs.
  • Wireless remote control transmitter for shutter release: Nikon ML-L3 ($18) is important for any tripod photography (city lights, fireworks).
Canon PowerShot S95 (8 oz) (Tom used Feb 2011 to Feb 2013)
Nikon D60 & D40X DSLR with Nikkor 18-200mm VR Lens (40 oz total) (Tom used D60 2008−09, D40X 2007−08)
Galapagos Brown Pelican (Pelecanus occidentalis, subspecies: urinator) at Suaraz Point, Española (Hood) Island, Galapagos Islands, Ecuador, South America. (© Tom Dempsey / Photoseek.com)

Photographed using a Nikon D60 DSLR using 18-200mm lens (© 2009 Tom Dempsey / Photoseek.com): A Galapagos Brown Pelican (Pelecanus occidentalis, subspecies: urinator) preens feathers at Suaraz Point, a wet landing on Española (Hood) Island, Galapagos Islands, Ecuador, South America. Published in “Light Travel: Photography on the Go” book by Tom Dempsey 2009, 2010.

  • The Nikon D60 or D40X plus all-in-one 18-200mm VR lens is a great system for active travelers, sufficiently lightweight to carry all day in my chest bag.
    • D60 or D40X camera body weighs 18 ounces (including battery & strap).
    • The Nikkor AF-S DX VR 18-200mm 3.5-5.6G IF-ED lens weighs 22 ounces with cap and hood (released in 2006, adopted by me in 2008). Its wonderful new VR (Vibration Reduction) feature stabilizes the sharpness of hand-held shots by up to 4 stops of shutter speed − remarkably unchaining travel photographers from the constraints of a tripod!
      • This D60 or D40X with 18-200mm lens system is comparable to Canon Rebel XSi with Canon 18-200mm IS.
    • The D60 thankfully introduces a good sensor dust-removal system, plus VR kit lenses. (The previous Nikon D40X model, which I used from May 2007 to August 2008, required tedious dust spot corrections, but nowhere near as bad as slide film).
      • The D60 introduces Active D-Lighting to attractively lighten shadow detail in JPEG shots, but Active D-Lighting doesn’t affect my raw shots — RAW gives superior editing leeway, so I generally avoid shooting JPEG (now that memory cards are getting cheaper than in the near past, allowing plenty of room for the larger RAW files).
    • D60/D40X sensor captures 10 megapixels = 3872 x 2592 pixels, making good prints to 23 by 30 inches or larger. Excellent quality to ISO 800, and ISO 1600 is usable for smaller prints. Same image quality as the higher priced Nikon D200. CCD sensor size is 23.6 x 15.8 mm (six times the light gathering area of the sensor in my earlier compact Canon Pro1).
    • The Nikon D60/D40X has a bright 2.5 inch LCD and shoots a generous 300 to 420 images per charge (using a Digital Concepts 1200 mAh battery, at 40 to 70 degrees F, using the LCD briefly on most shots; most shots using VR and 10% using flash). The batteries last 2.5 times longer than Canon Pro1 batteries and weigh an ounce less per battery. Long battery life is important for trekking away from electricity such as in Nepal, where six batteries lasted for two weeks shooting 2800 images without recharging on the D40X.
  • Adobe Lightroom version 1.1 introduced support for the Nikon D40X camera, and version 1.4 supported Nikon D60.
  • 2008-09: my wife uses the shirt-pocket sized Canon SD700 IS (below), which serves as my backup that adds movies & sound recording.
Canon PowerShot SD700 IS Digital ELPH, ultra-subcompact digital camera (7 oz; Tom used October 2006−2007)
  • This amazingly tiny and lightweight camera can be carried in your pocket, takes still shots with publication quality up to 12 by 16 inches, and serves as a main camera for my wife and backup camera for me.
  • Features: 6 megapixels (2816 x 2112 pixels). Image-stabilized zoom lens 5.8-23.2 mm, f/2.8-5.5 (or 35-140 mm lens in 35mm-film-camera terms); 0.79-inch macro focus. Movies can be 15, 30 or 60 frames per second, with dynamic exposure and digital zoom as you shoot, which is better than the Pro1. Great DIGIC II processor. We bought the optional housing for shooting underwater.
  • Disadvantages: No raw file mode. It has good exposure +/- compensation, but cannot set or view the F/stop aperture or shutter speed (except shutter speed thankfully displays live when the camera shake warning also displays).
  • The SD700 was succeeded by the SD850. Excellent alternatives to the SD700 IS: Sony Cyber-shot DSC-N2; or Canon SD800 IS ELPH. Slightly larger, higher quality alternatives in 2007: Canon PowerShot A710 IS, or PowerShot G7. Upgrades released in 2008: G9, G10.
Canon PowerShot Pro1 compact digital camera (25 oz; Tom used August 2004 − March 2007)
An orange and green leaf rests on polygons of orange and gray lichen in Denali State Park, Alaska, USA. Published in "Light Travel: Photography on the Go" by Tom Dempsey 2009, 2010. (© Tom Dempsey / PhotoSeek.com)

Photographed using a compact Canon PowerShot Pro1 camera (© 2006 Tom Dempsey / PhotoSeek.com): An orange and green leaf rests on polygons of orange and gray lichen in Denali State Park, Alaska, USA. Published in “Light Travel: Photography on the Go” by Tom Dempsey 2009, 2010.

  • For its time, the Canon PowerShot Pro1 was a great all-in-one camera for traveling.
  • Features: 8 megapixels = 3264 x 2448, makes good prints to 23 by 30 inches. Professional “L series” 7.2-50.8 mm zoom lens, with fast f/2.4-3.5 widest aperture, or 28-200 mm, in terms of 35mm-wide-film cameras (horizontal angle of view from 65.5 degrees wide, to 10.3 degrees at telephoto). Close macro focus to 1 inch (using 5 megapixel Super Macro, f/3.0 at 90 mm). The electronic viewfinder EVF is great when the LCD is hard to read in bright sunlight. High resolution Movies. JPEG images require little Photoshop touch up; and the raw format preserves superior image quality. Battery life is half of the earlier Canon G5, so I carry a few more batteries. CCD sensor 2/3 inch type (8.8 x 6.6 mm).
  • Using the Pro1’s wide angle lens at maximum f/8, everything is in focus from 1.4 feet to infinity when you focus at 2.7 feet (the “hyperfocal point”; all objects at distances from half of the hyperfocal distance out to infinity will be acceptably sharp). Using the Pro1’s 50.8 mm telephoto at f/8, if you focus 132 feet away, then everything is in focus from 66 feet to infinity; and focusing the same telephoto at 20 feet, you get 6 feet of total depth of field from front to back.
  • April 2005 upgrade: Canon Pro1 Firmware version 1.0.1.0 (free on Canon Support Web Site, released December 2004) doubles the shutter release speed, reducing shutter lag from about 0.6 to 0.3 seconds.
  • But in 2007, the discontinued Canon Pro1 was outclassed by the more capable Fujifilm FinePix S9100, which is the same weight but physically larger.
Canon PowerShot SD500 Digital ELPH ultra-subcompact digital camera (7 oz; Tom used May 2005 − Sept 2006)
  • This tiny and lightweight camera can be carried in a pocket, takes still shots with publication quality up to 12 by 16 inches, and served as a main camera for my wife and backup camera for me for 1.5 years.
  • Features: 7 megapixels = 3072 x 2304 pixels. Zoom lens 7.7-23.1 mm, f/2.8-7.1 Wide, f/4.9-13.0 Telephoto (or 37-111 mm lens in 35mm-film-camera terms); 2-inch macro focus. Movies can be 15, 30 or 60 frames per second, and now with dynamic exposure and digital zoom as you shoot, which is better than my Pro1. Great DIGIC II processor.
  • Drawbacks: No raw file mode. Has good exposure +/- compensation, but cannot set or view the F-stop aperture or shutter speed.
  • To maximize depth of field, set the SD500 mode dial to Manual and toggle the Infinity button (until you see the mountain symbol). Using the SD500’s 7.7 mm (37 mm equivalent) wide angle lens at maximum f/7.1, everything is in focus from 2.3 feet to infinity when you focus at 4.6 feet (the “hyperfocal point”). At the 23.1 mm (111 mm equivalent) telephoto maximum f/13, everything is in focus from 11.5 feet to infinity when you focus at 23 feet.
  • We bought the SD500 for $450 in May 2006, and sold it on e-Bay 1.5 years later. In October 2006, we upgraded to the well-reviewed Canon PowerShot SD700 IS ELPH above (which introduces excellent image stabilization in a longer zoom 35-140 mm f/2.8-5.5 lens, which helps compensate for the lower resolution of 6 megapixels; and shutter-button lag is now reduced to a very fast 0.1 to 0.3 seconds).
Film versus digital photography 2004-2009; and how to ensure digital longevity

FILM VERSUS DIGITAL (read my 2009 article).

While film can fade, high-quality digital image file formats should last perfectly into the future so long as you copy backups onto the latest storage media which are readable by up-to-date software.

To avoid unrecoverable exposure problems and posterization, always record 12-bit (or 14-bit) camera raw format files at shooting time to create digital archive files that have 16 (or 64) times the tonal editing headroom compared to JPEG (which has only 8 bits per pixel per red, green, or blue color channel).

If your editing software ever threatens to evolve beyond compatibility with older raw files (which are proprietary to each camera), first convert to a modern “universal” raw format such as Adobe Digital Negative, DNG files, to ensure future compatibility. As of 2015, Adobe Lightroom version 6 still handles my oldest raw files from Canon Powershot G5 camera of 2003, and I haven’t yet seen the need to convert old files to DNG. For secure backup of my Lightroom edits, I like “Automatically write changes into XMP” (Lightroom > Edit > Catalog Settings > Metadata), in case the Lightroom catalog ever becomes corrupted and must be restored by re-importing raw image files + sidecar XMP files.

Canon PowerShot G5 compact digital camera (19 oz) + telephoto lens (9 oz) (Tom used 2003−2004)
A Common Wombat (Vombatus ursinus) is shown at Bonorong Wildlife Park, Briggs Road, Brighton, Tasmania, Australia. Wombats are burrowing grass eaters, and can be thought of as the marsupial ecological equivalent of a bear. Wombats are found in forested, mountainous, and heathland areas of southeast Australia including Tasmania, plus an isolated group in Epping Forest National Park in central Queensland. The three living species of wombats are marsupial mammals in the Vombatidae family. They dig extensive burrow systems with rodent-like front teeth and powerful claws. Their unusual backwards-facing pouch avoids gathering dirt onto its young. Although mainly crepuscular and nocturnal, wombats also venture out to feed on cool or overcast days. Wombats are herbivores, mostly eating grasses, sedges, herbs, bark and roots. Published on Australian geocaching coin 2010, displayed in support of Wilder Foundation 2009, 2010, and exhibited at Oceanario de Lisboa, Portugal 2007. Published in "Light Travel: Photography on the Go" book by Tom Dempsey 2009, 2010. (© Tom Dempsey / PhotoSeek.com)

A flip-out-and-twist LCD allowed me to lower my Canon PowerShot G5 camera into the enclosure to frame at wombat level, with permission at Bonorong Wildlife Park, Tasmania, Australia. Published on Australian geocaching coin 2010; displayed in support of Wilder Foundation 2009, 2010; and exhibited at Oceanario de Lisboa, Portugal 2007. Published in “Light Travel: Photography on the Go” book by Tom Dempsey 2009, 2010. (© Tom Dempsey / PhotoSeek.com)

The Canon PowerShot G5 convinced me to stop shooting film! The G5 was half the size and weight of my earlier Nikon N70 SLR outfit (below), yet had a brighter lens, and rivaled the quality I got from scanning film using the Nikon LS-2000 film scanner (which was later superseded by better scanners). G5 Features: 5 megapixels = 2592 x 1944, 35-140 mm zoom (equivalent), f/2.0-3.0, + fixed 245 mm or 1.75x attachment lens. Its great flip-out-and-twist LCD became a critical feature that I never knew I needed before, for macro, wildlife, and people shots.

Fujichrome Velvia 100F 35mm color slide film (Tom used 2004)

is more realistic and not quite as vivid as Velvia 50, but has twice the speed, and could have become my new mainstay film, except for the superiority of a digital camera for my travel and nature photography.

Kodak Ektachrome 100VS 35mm color slide film (Tom used 2001−03)

I was very happy with this vivid film when I need one stop faster than Fuji Velvia. (I disliked the flat colors of Fuji Provia 100 or 100F.)

Epson Stylus Photo 1270 Printer (Tom used 2000−04)

made wonderful prints up to 12×44 inches, rated at 25-year longevity on special Epson papers (when mounted behind glass). 6-color high quality ink jet printer. My home prints on the Epson 1270 now exceeded the quality of professional chemical silver-based prints. (The 1270’s successor was the similar Model 1280; and after 2004, nicer 7-color printers became available such as the excellent Epson Stylus Photo 2200 above, and 4000.)

Fujichrome Velvia 50 ASA 35mm color slide film (Tom used 1999−2004)

This classic film became my new mainstay, until I switched to a digital camera in 2004.

Nikon N70 SLR 35mm-film camera + 2 lenses = 54 ounces (Tom used 1998−2004)Silhouettes of photographers at sunrise on Mount Nemrut, Republic of Turkey.

Doubled light gathering power and gained a nice built-in flash, at the cost of slightly more bulk and weight. Fully automatic + manual. In April 1999, I upgraded lenses to: Sigma 28-105 mm f/2.8-4 Aspherical Zoom; and Sigma 70-210 mm f/3.5-4.5 APO Telephoto Zoom Macro (2:1 magnification). Nikon N70 was released in 1996.

Gitzo “Weekend Compact Performance” tripod (Tom used 1998−2004)

2.9 pounds with lightweight ballhead, plus Kirk quick release plate. When the camera is not attached, the Kirk plate can lose its release knob unless you screw it all the way down, which partly defeats the quick release purpose. The screw-locking legs on this Gitzo model are very slow to set up and take down, and the small ball head constantly came unscrewed (a design flaw). I upgraded to a lighter, faster & cheaper yet equally sturdy tripod further above.

Fujichrome 100 Sensia I & II film (Tom used 1992−1998)

became my new mainstay: fast & sharp with adequate color.

Film experiment 1988-2000: I occasionally used Kodachrome 200 film

but I was usually unhappy with the grainy results.

Film experiment 1986-92: I occasionally used Kodachrome 64 film

which is faster than Kodachrome 25, but color is not as vivid.

Film classic 1978-92: The great Kodachrome 25 film

was my mainstay, plus I occasionally used Kodak Ektachrome 200 film with good, sharp results. Even though it is one of the longest lasting films, some of my Kodachrome 25 slide images are fading after 25 years. Ektachrome fades quicker than Kodachrome.

Classic camera: Olympus OM-1N SLR 35mm-film camera + 2 lenses = 48 ounces (Tom used 1978−97)
From Männlichen Gipfel, see Eiger, Mönch, and Jungfrau in the Berner Oberland, Switzerland, the Alps, Europe.

I photographed this popular image on a Olympus OM-1N SLR 35mm-film camera (© 1981 Tom Dempsey / PhotoSeek.com): From Männlichen Gipfel see the peaks of Eiger (Ogre 13,026 feet on left), Mönch (Monk), and Jungfrau (Virgin 13,600 feet on right) in the Berner Oberland, Switzerland, the Alps, Europe. Published multiple times and even featured in a Swiss movie by Meret Nora Burger.

Trusty and rugged. Fully manual camera. Attachable flash. I started with fixed 50 mm and 135 mm Zuiko lenses, then upgraded to a Tamron 28-70 mm f/4 zoom, and a Sigma UC II 70-210mm, f/4-5.6, 1:4.7 macro, telephoto zoom lens. From 1978 to 1997, I used lightweight SLIK 500G and other tripods for travel. The OM-1 can take 8-hour night sky star-trail photographs, which can require special battery supplements on modern battery-intensive cameras, such as the Nikon N70 film camera, and especially digital cameras.

Terminology and metric conversions

  • oz = ounces. Above camera weights in ounces (oz) include battery and memory card.
  • g = grams. Multiple ounces by 28.35 to get grams.
  • sec = second.
  • mm = millimeters. A centimeter (cm) equals 10 millimeters. Multiply centimeters (cm) by 0.3937 to get inches.
  • ILC = Interchangeable Lens Compact = “midsize mirrorless camera” term used above
  • DSLR = Digital Single Lens Reflex = a traditional camera where an optical viewfinder uses a mirror to see through the interchangeable lens.
  • EVF = Electronic Viewfinder.
  • LCD = Liquid Crystal Display.
    • OLED (Organic Light-Emitting Diode) beats an LCD in dynamic range from darkest to brightest and consumes less power.
  • LPH or LPPH = resolvable lines per picture height = the best empirical measure of real resolution of a camera’s sensor for a given lens (independent of pixel pitch or megapixel count). A camera with higher LPH can make sharper large prints. Look up cameras on dpreview.com to find absolute vertical LPH judged by photographing a PIMA/ISO 12233 camera resolution test chart under standardized lighting conditions. Note which lens, settings, and camera body was used in each test, and compare with others within the same web site.
  • equivalent lens = To compare lenses on cameras having different sensor sizes, equiv or equivalent lens refers to what would be the lens focal length (measured in mm or millimeters) that would give the same angle of view on a “full frame35mm-size sensor (or 35mm film camera, using 135 film cartridge).
    • Compared lenses are “equivalent” only in terms of angle of view. (To determine sharpness or quality, read lens reviews which analyze at 100% pixel views.)
    • Crop factor” = how many times smaller is the diagonal measurement of a small sensor than a “full frame” 35-mm size sensor. For example, the 1.5x crop factor for Nikon DX format (APS-C size sensor) makes a lens labeled 18-200mm to be equivalent in angle of view to a 27-300mm focal length lens used on a 35mm film camera. The 2x crop factor for Micro Four Thirds sensors makes a lens labeled 14-140mm to be equivalent in angle of view to a 28-280mm lens used on a 35mm film camera.
  • Superzoom lenses
    • In 2013, superzoom often refers to lenses of about 15x zoom range or larger. Steady quality improvements in the resolving power of sensors has made possible superzoom cameras in ever smaller sizes. As superzoom range increases, laws of physics require lenses to focus upon smaller sensors (light detectors) or else to increase lens size. For a given level (most recent year) of technological advancement, a camera with physically larger sensor (bigger light detecting area) should capture better quality for a given zoom lens range.
    • 10x zoom” = zoom lens telephoto divided by wide angle focal length. For example, a 14-140mm focal length zoom has a 10x zoom range (140 divided by 14). An 18-200mm zoom has an 11x zoom range (200 divided by 18).
  • equivalent” F-stop = refers to the F-stop (F-number) on a full-frame-sensor camera which has the same hole diameter as the F-stop of the camera lens being compared. The concept of “equivalent” F-stop lets you compare capabilities for creating shallow depth of focus (depth of field) on cameras with different-size sensors. Smaller-sensor cameras use shorter focal lengths for the same field of view, so at a given F-stop they have a smaller physical aperture size, meaning more depth of field (with less blur in front of and behind the focused subject). Formula: F Number (or Relative Aperture) = actual focal length of lens divided by diameter of the entrance pupil.

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Print sharpness depends upon viewing distance & resolution

How Image Quality affects Maximum Print Size.

Clearly, a higher-quality image can be printed bigger than a fuzzier one. But maximum print size is subjective, depending upon your viewing distance and acuity standards. Surprisingly, a giant billboard along a highway can be printed from a little 3-megapixel camera!

Subjectively speaking, an excellent 8 to 10 megapixel camera made back in 2007 can create images for prints perceived as sharp when viewed at a distance equal to the print’s longer dimension or further away. For example, for most people a 30 by 20-inch print from an 8-10 megapixel DSLR camera looks sharp when viewed at about 30 inches.

Further, for a good 3+ megapixel camera, maximum print size is unlimited when viewed from at least twice the print’s longer dimension away. But when viewed closer, a subjective formula for maximum print size is suggested further below. Consider this surprising example:

  • A 20-foot-wide billboard produced from a good 3 megapixel camera can look great viewed from 40 feet away, but can look fuzzier when viewed closer. Different observers will judge the “fuzziness” differently, subjectively. A typical 3-megapixel image might be 2000 pixels wide by 1500 high. When you print that image 8 inches wide (at 250 pixels per inch, or PPI) and view it 16 inches away, it will look just as sharp as the more distantly viewed billboard. Stand 40 feet from the billboard and hold the print 16 inches from your eye, and they will line up perfectly. Both have the same viewing angle relative to your eye and both have 3 megapixels of information, so they will look equally sharp, theoretically.

Image quality directly affects maximum print size, depending upon many factors:

  • shooting with sharp focus
  • sufficiently fast shutter speed to freeze subject motion and prevent shaky hands moving the camera during exposure
  • proper exposure, brightness
  • sufficiently low ISO settings to reduce noise
  • better raw file optimization: in-camera JPEG conversion versus superior raw conversion on a computer
  • better sensor & processor: larger sensor, latest technology (such as backside illumination, BSI), better processor efficiency, higher signal-to-noise ratio
  • good lens quality with large diameter

Formula for minimum print-viewing distance:

The following subjective viewing distance formula for the acuity of the human eye is for well-printed images, from any high quality camera of any megapixel specification. As most prints are viewed at a distance of at least 15 inches, printing a camera’s native pixels at 240 ppi seems sufficiently sharp for most people (or somewhere between 180 and 300 ppi):

Optimal viewing distance in inches = 3500 divided by optimal ppi.

  • For example: a 240 ppi print can look sharp when viewed at 15 inches or greater, which is about the closest that most people look at prints (14.6 inches = 3500 / 240 ppi). In this example, the pixels designated within the file at 240 ppi are assumed to be native (not digitally enlarged), from a well-shot image.
  • Another example: a 10-megapixel Nikon D40X camera captures 3872 x 2592 pixels, native size. Take the longer dimension of 3872 pixels and divide by 240 ppi, which equals a 16 inch print, which should look sharp when viewed at 15 inches or further from your eye. Enlarging this image, by doubling its long side to 32 inches, will look sharp when viewed at least twice as far away (30 inches from your eye). The same native optimal image size enlarged by tripling the long side should be viewed at least 3 times as far away (45 inches).
  • This formula is subjective, meaning your judgment of image sharpness may differ from mine. Adjust your optimal ppi as needed to customize this formula.

Printing tips:

For best prints of up to 48 inches on an ink jet printer, resize the file’s resolution in the range of 240 to 300 ppi (pixels per inch), at your desired length and width. This optimizes the print for the acuity of typical human eyes at common viewing distances, such as for small handheld prints, and also for large prints on a wall viewed a step or two away. Adobe Photoshop’s “bicubic” resizing works great; or use Adobe Lightroom.

If more than doubling a dimension, resize in steps, to avoid imperfections. For example, to increase an image from 16 inches to 48 inches high, resize height to 32 inches first, then resize again to 48. Maintain image proportion of height to width. After resizing, sharpen (or Unsharp mask) the image as the last step before printing.

  • As you smoothly enlarge the image in steps in an editor, keep the file’s recommended 240-300 ppi constant, in order to avoid the appearance of pixelation in the print upon close examination. Enlarging will increase the number of pixels beyond native camera size by the square of the increase in the long side. For example, doubling the long side quadruples the number of pixels beyond native size. Tripling the long side increases by 9 times the number of pixels beyond native size.
  • File ppi versus printer DPI: Setting a file’s resolution to 240 ppi is unrelated to setting the printer’s dpi (dots per inch) for laying down ink, which is a different topic — for final prints, simply choose the printer’s “Highest Quality” setting, which will automatically optimize dpi for the printer’s ink.

Compare cameras:

Seeing is believing. Compare images from two cameras side by side using 100% pixel view at

www.imaging-resource.com/IMCOMP/COMPS01.HTM

  • Compare compact camera images (with sensor size 1″-Type or less) at ISO 400 and 800, where blotchy noise becomes obvious.
  • For DSLR and mirrorless cameras, compare at ISO 1600 and 3200. 

For better quality images, buy the latest-model camera (read my recommendations). I prefer a camera with a larger diameter lens and physically larger sensor which is better optimized than its competitors, as judged when 100% pixel views are compared at ISO 800 or higher. Back in 2007, sensor designs exceeding about 6 to 8 megapixels in small cameras (subcompacts less than 10 ounces) usually didn’t help increase effective print size, due to hardware limitations of tiny lenses and sensors at that time. But by 2016, technological leaps allowed a 16mp sensor in a little Samsung S6/S7 smartphone to make good 18-inch prints! In this example, upgrading to the latest model pays off handsomely.

Historical camera comparison from year 2012: Based on review sites dpreview.com and imaging-resource.com, I rate the following travel cameras on ISO 400 quality, starting with best first, and worst last, with roughly equivalent cameras connected by slash / marks: 

Canon EOS Rebel T3i/T2i/Nikon D5100/D3100 > Nikon D5000 > Nikon D60 > Nikon D40X or Canon EOS 400D Rebel XTi SLR > Fujifilm FinePix S6000fd > Panasonic DMC-FZ50 > Canon PowerShot G7 > Panasonic DMC-FZ8 > Canon PowerShot A710 IS > Panasonic DMC-LX-2 > Canon PowerShot SD700 IS > Canon PowerShot Pro1 (which requires ISO 50 to best the G7).

Look up the LPH for cameras, sometimes reported on dpreview.com: resolvable lines per picture height (sometimes abbreviated LPPH). A camera with higher LPH can make sharper large prints. LPH is a good empirical measure of real resolution of a camera’s sensor for a given lens (independent of pixel pitch or megapixel count). dpreview.com reports the absolute vertical LPH judged by photographing a PIMA/ISO 12233 camera resolution test chart under standardized lighting conditions. Note which lens and camera body was used in each test, and compare with others within the same web site.

BEST 2017 TRAVEL CAMERAS reviewed

Top recommended travel cameras (pocket, midsize, DSLR, full frame) as of June 2017:

Research by Tom Dempsey recommends the following portable cameras and gear best for on-the-go photographers. Yearly advances now put the sweet spot for serious travel cameras in the size range from 1”-Type to APS-C sensors (read article).

Sony RX10 III camera

The world’s most versatile midsize camera: Sony RX10 III has a weather-sealed 25x zoom 24-600mm equivalent, bright f/2.4-4 lens.

As smartphones typically blur shots in dim light and zoom poorly, upgrading to (A) a pocket-size 1″-size-sensor camera (read my review) will help make bigger prints. But for publishing, I prefer (B) a midsize Sony Cyber-shot DSC-RX10 III camera (price at Amazon) with versatile 25x zoom lens which outshines APS-C sensor systems anywhere near its weight class — read my RX10 III review.

Traditionalists wanting more lens choices and optical viewfinder may pick (C) a bulkier DSLR-style camera with APS-C sensor. Elite photographers seeking dim-light images at high ISO 6400+ may prefer a heavier (D) full-frame sensor camera

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A. World’s best pocket-size camera:

Panasonic Lumix DSC-ZS100 (buy at Amazon) (2016, 11 oz, 25-250mm equivalent lens) outguns all pocketable 1″-sensor rivals with a versatile 10x zoom (read my ZS100 review).  Other options:

  1. Sony Cyber-shot DSC-RX100 (IV, III, II, or I) (price at Amazon) only zooms to 3x but is noticeably sharper and brighter than ZS100. Add a Sony AG-R2 attachment grip. Fit into Tamrac Digital 1 Photo Bag with extra Wasabi Power NPBX1 batteries. Save money with used or earlier III, II or I versions — read Tom’s Sony RX100 review.
  2. Pocket superzoom: Panasonic Lumix DMC-ZS60 (2016, 10 oz, 24–720mm equiv 30x zoom, 18mp, EVF) or older ZS50.
  3. Cheapest: Canon PowerShot ELPH 170 IS (2015, 5 oz, 25-300mm equiv lens, 1/2.3″ sensor).
  4. Underwater, shockproof, dust-resistant: Olympus Tough TG-4 (2015, 8.7 oz, 25-100mm equiv) compromises image quality but is good for underwater movies.

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